Birdsong @ The Comedy Theatre

Sebastian Faulks has argued that turning a novel into a film or play is like turning a painting into a sculpture, as it is so often done badly. Unlike films or theatre, reading allows us to get carried away with our imagination. Pictures are formed of places and people. Therefore, when such a prolific read is adapted for stage or screen we are instantly shown something that is not what we uniquely imagined, and we are consequently disappointed before any action even begins. I was eager to see if this was the case when I went to watch Rachael Wagstaff's adaptation of Birdsong, Faulks' most famous work, at the Comedy Theatre. In 2003 the BBC conducted a 'Big Read' survey to find Britain's most popular novel; Birdsong was voted 13th so you can imagine why I watched with high expectations.

In the first act, which is set in the years leading up to WW1, Englishman Stephen Wraysford (played by the fantastic Ben Barnes from the Chronicles of Narnia films)is asked by his boss to stay with a factory owner and his family in Amiens, of Northern France. The wife of the factory owner, Isabelle, (played by Genevieve O'Reilly who I recognised from the BBC drama Spooks) is in an unhappy marriage; she is forced to endure daily beatings from her husband, something which Stephen is aware goes on. It is a combination of her beauty and the fact she needs help that causes him to fall in love with her. When he admits this to her, she reciprocates and the two embark on a love affair set against the backdrop of the French village during the summer months, although the chemistry between the two was somewhat lacking in areas.

However, the dreamy quality of Act One is shortlived, as, in Acts Two and Three, we are suddenly hauled into the horror of WW1. John Napier's brilliant set design brought to life the unimaginable misery of life inside and outside the trenches. The Comedy Theatre was a superb venue for the play with its low ceilings and narrow auditorium; as it seemed as if we too were being suffocated inside the trenches with the men.

It was these final two acts in which the acting really excelled. Lee Ross was superb as Jack Firebrace, an army Private who rescues an injured Stephen from the battlefield. Jack is the good-hearted man that entertains the troops despite the hell that surrounds them. Ross moved between playing the fool and the sensitive family man, which he again did brilliantly; there was barely a dry eye in the house when he received news that his son back at home has died from diptheria.

In the novel itself the story is propelled by Stephen's grand-daughter seeking the truth about what happened to her family during the war. Wagstaff has chosen to leave this part out, probably because it would be far too long with this added in. I imagine many will be disappointed that this part of the novel was not included, however despite this, I thought it worked; the play still captured the true horrors of war and the passion that comes alongside a love affair that are strong themes throughout Faulks' novel. Laughter and tears, this play did not fail to disappoint and the projected list of the fallen from the Battle of the Somme altogether made it even more heartfelt, particularly when I saw several names of men that had the same surname as me. This is a must-see, but remember to take your tissues...

Birdsong runs until 15 January 2010 at the Comedy Theatre, Panton Street, SW1Y 4DN.

Written by Sebastian Faulks
Adapted by Rachael Wagstaff
Directed by Trevor Nunn
Starring Ben Barnes and Genevieve O'Reilly
Design by John Napier

Krystof Strozyna

Krystof Strozyna found himself in the fashion spotlight when Cheryl Cole wore one of his designs on the X-Factor recently, and also when Diana Vickers quickly followed in her former mentor’s footsteps by wearing the dress that Strozyna described as his ‘scuba’ design – he took inspiration from a wetsuit for the colours and materials he used.

But his celebrity backing is not the only basis for his success. His designs can speak for themselves and his Spring Summer 2011 show during London Fashion Week did not fail to once again impress critics.

The show opened with a video of a woman playfully eating daisies, a sign of the all-consuming femininity that was to follow. It was also an indication of the influence of nature on Strozyna’s collection.

With hair swept up in a just-got-out-of-bed chignon, the models strode out in oh-so-short nude lace body-con dresses with inserted panels of draped chiffon in sorbet shades of peppermint green, sky blue and hot pink. Cut into sharp and angular shapes, the inserted panels added a harsh contrast to the loose pale lace that surrounded them. Strozyna carried this through by adding matching lace stockings that ended with feet encased in chunky platformed heels.

Suddenly a shapeless, loose-fitting harsh black suit forced the collection into a different direction as Strozyna brought his passion for natural prints into play. Dresses were covered in prints of various reptile skins in fluorescent tones of yellow, blue and pink.

His play on the hourglass silhouette - with his draping techniques and his distinct, complementary tones of bright and muted colours - produced a collection that was both mature and exciting for a designer so young.

(Photo courtesy of londonfashionweek.co.uk)

Galliano blooms in Paris

Yesterday all the flowers of the garden came to life on the Dior couture catwalk in Paris. Set in the gardens of the Musée Rodin against a backdrop of huge plastic orange fuchsias, John Galliano opened the show with a show-stopping purple fur wrap coat reminiscent of a giant peony. Swathed in purple ‘petals’ with a tulip skirt and multi-layered collar, the model was a walking bouquet of flowers, her waist cinched in with natural grasses and her hair wrapped in rose-tinted cellophane.

There were skirts shaped and adorned like replica lilac hyacinths and white carnations, and a canary yellow iris full length dress complete with huge lace petals enveloping legs and neck. Voluminous skirts made from stiffened mohair fell round each side of the hips leaving a contrasting flaming orange underskirt peeking through just like a flower opening to reveal its brightly coloured inner throat.

Galliano added more colours to his bouquet by complimenting each look with leather elbow length gloves in contrasting colours and streaking David Bowie-esque eyeshadow in a rainbow of colours across eyes.

The show closed with seven ornate dresses which were oh-so couture with their vast rich silk, chiffon and tulle skirts. A black satin off-the-shoulder gown was slashed from waist to floor, revealing a yellow and red orchid printed onto a netted petticoat.

Galliano trotted out at the end surrounded by all his pretty petals wearing what looked like a bee-keeper's hat which was very fitting as this was certainly a show that would have attracted all the insects in the garden.

(Photo courtesy of style.com)